A classic of 20th-century theatre, Ariel Dorfman's Death and the Maiden ran for a year in the West End, was a hit on Broadway and was filmed by Roman Polanski starring Ben Kingsley and Sigourney Weaver. A woman seeks revenge when the man she believes to have been her torturer happens to re-enter her life. Death and the Maiden was given a first reading at the Institute for Contemporary Art in London in November 1990. After a workshop production staged in Santiago, Chile, in March 1991, the play had its world premiere at the Royal Court Upstairs, London, in July 1991, transferring to the Main Stage at the Royal Court in October. The play then transferred to the West End, at the Duke of York's Theatre, in February 1992. Death and the Maiden won the 1992 Olivier Award for Best New Play.

First published in 1971, How to Read Donald Duck shocked readers by revealing how capitalist ideology operates in our most beloved cartoons. Having survived bonfires, impounding and being dumped into the ocean by the Chilean army, this controversial book is once again back on our shelves. Written and published during the blossoming of Salvador Allende's revolutionary socialism, the book examines how Disney comics not only reflect capitalist ideology, but are active agents working in this ideology's favour. Focusing on the hapless mice and ducks of Disney, curiously parentless, marginalised and always short of cash, Ariel Dorfman and Armand Mattelart expose how these characters established hegemonic ideas about capital, race, gender and the relationship between developed countries and the Third World. A devastating indictment of a media giant, a document of twentieth-century political upheaval, and a reminder of the dark undercurrent of pop culture, How to Read Donald Duck is once again available, together with a new introduction by Ariel Dorfman.

"If the courts and lawyers of this country will not do their duty, we shall watch as the victims and survivors of this man pursue justice and vindication in their own dignified and painstaking way, and at their own expense, and we shall be put to shame."
Forget Pinochet, Milosevic, Hussein, Kim Jong-il, or Gaddafi: America need look no further than its own lauded leaders for a war criminal whose offenses rival those of the most heinous dictators in recent history-Henry Kissinger.
Employing evidence based on firsthand testimony, unpublished documents, and new information uncovered by the Freedom of Information Act, and using only what would hold up in international courts of law, THE TRIAL OF HENRY KISSINGER outlines atrocities authorized by the former secretary of state in Indochina, Bangladesh, Chile, Cyprus, East Timor, and in the plight of the Iraqi Kurds, "including conspiracy to commit murder, kidnap, and torture."
With the precision and tenacity of a prosecutor, Hitchens offers an unrepentant portrait of a felonious diplomat who "maintained that laws were like cobwebs," and implores governments around the world, including our own, to bring him swiftly to justice.

A smouldering political allegory about a political protest in a country ruled by a military junta. From the author of Death and the Maiden, written in collaboration with Tony Kushner, author of Angels in America. In a war-torn village the men have disappeared. The women - their mothers, wives, daughters - wait by the river, hope and mourn. Their anguish is unspoken until bruised and broken bodies begin being washed up on the banks and the women defy the military in the only form of protest left to them. Ariel Dorfman's play Widows is based on his 1983 novel of the same name. The play was first presented by the Traverse Theatre Company at the Cambridge Arts Theatre in March 1997. (An earlier version of the play was first performed at the Mark Taper Forum in Los Angeles in July 1991).

La muerte y la doncella, la obra latinoamericana mas representada en la historia del mundo, ha llegado a constituirse en un clasico sobre la justicia y el perdon, la memoria y el olvido. Dorfman se ha propuesto a explorar preguntas pocas veces hechas en voz alta: "Como pueden los represores y los oprimidos cohabitar una misma tierra, compartir una misma mesa?" preguntas que hoy dia siguen tan vigentes como cuando Dorfman escribia esta obra.

Ariel Dorfman's explosively provocative, award-winning drama is set in a country that has only recently returned to democracy. Gerardo Escobar has just been chosen to head the commission that will investigate the crimes of the old regime when his car breaks down and he is picked up by the humane doctor Roberto Miranda. But in the voice of this good Samaritan, Gerardo's wife, Paulina Salas, thinks she recognizes another man--the one who raped and tortured her as she lay blindfolded in a military detention center years before.

First published in 1971, How to Read Donald Duck shocked readers by revealing how capitalist ideology operates in our most beloved cartoons. Having survived bonfires, impounding and being dumped into the ocean by the Chilean army, this controversial book is once again back on our shelves. Written and published during the blossoming of Salvador Allende's revolutionary socialism, the book examines how Disney comics not only reflect capitalist ideology, but are active agents working in this ideology's favour. Focusing on the hapless mice and ducks of Disney, curiously parentless, marginalised and always short of cash, Ariel Dorfman and Armand Mattelart expose how these characters established hegemonic ideas about capital, race, gender and the relationship between developed countries and the Third World. A devastating indictment of a media giant, a document of twentieth-century political upheaval, and a reminder of the dark undercurrent of pop culture, How to Read Donald Duck is once again available, together with a new introduction by Ariel Dorfman.

"A multifaceted journey that is geographical, personal and political . . . A complex, nuanced view of United States-Latin American politics and relations of the last forty some years." -- Durham Herald-Sun "One of the most important voices coming out of South America." -- Salman Rushdie In September 1973, the military took power in Chile, and Ariel Dorfman, a young leftist allied with President Allende, was forced to flee for his life. In Feeding on Dreams, Dorfman portrays, through visceral scenes and with startling honesty, the personal and political maelstroms that have defined his life since the Pinochet coup. Dorfman's wry and masterfully told account takes us on a page-turning tour of the past several decades of North-South political history and of the complex consequences of revolution and tyranny, excavating for the first time his profound and provocative journey as an exile and the consequences for his wife and family. "Fascinating." -- San Francisco Examiner "A great book that will simultaneously undo us and sustain us." -- Tikkun

Eno Publishers builds on its successful 27 Views series by showcasing the literary community of Durham, North Carolina, in 27 Views of Durham: The Bull City in Prose & Poetry. The book features 27 writers, who in poetry, essays, short stories, and book excerpts focus on the town of Durham, famous for Duke University, tobacco, and Southern cuisine. The collection offers readers a broad and varied picture of life past and present in Durham, as well as a sense of the town's literary breadth. Contributing authors include Steve Schewel, Barry Saunders, Jean Anderson, Carl Kenney, Katy Munger, David Guy, Ariel Dorfman, Pierce Freelon, Miguel Rojas-Sotelo, Andre Vann, John Valentine, Shirlette Ammons, Jim Wise, and others.

Text in Arabic. Tense and tightly woven, Thiqah is a dramatic novel set in Paris during World War II about a woman whose lover is accused of working for the Resistance. The novel follows nine hours of phone conversations between a woman and a mysterious stranger who seems to know everything about her and the reasons she fled her homeland. As the dialogue progresses, the man tells her many disturbing things about her and her lover (who may be in great danger), the political situations in which they are enmeshed, and his fantasies about her. Powerful and menacing, Thiqah draws the reader into a post-modern mystery where nothing -- including the text itself -- is what it seems.

A classic of world literature back in print in a Spanish-language edition.
Wisconsin edition is for sale only in North America.

In this remarkable memoir, Dorfman describes an extraordinary life, torn between the United States, South America, and his Jewish heritage, between English and Spanish, between revolution and repression. Interwoven with the story of how Dorfman switched languages and countries--not once, but three times--is a day-to-day account of his multiple escapes from death during Pinochet's military takeover of Chile in 1973. Combining eight vignettes of his life before 1973 with eight scenes from the coup, Dorfman filters these events through an engaging, hybrid consciousness. A beautifully written and deeply moving auto-biography by one of the "greatest living Latin American writers" (Newsweek), Heading South, Looking North is at once a vivid account of a life as complex and mysterious as the fictional characters Dorfman has created, and an enthralling search for a permanent home, a political cause, and a cultural identity.

In this powerful cultural critique, Ariel Dorfman explores the political and social implications of the smiling faces that inhabit familiar books, comics, and magazines. He reveals the ideological messages conveyed in works of popular culture such as the Donald Duck comics, the Babar children's books, and "Reader's Digest "magazine. "The Empire's Old Clothes" was widely praised when it was first published in 1983. This edition, including a new preface by the author, makes a contemporary classic newly available.

Formerly exiled Chilean author Ariel Dorfman, one of Latin America's greatest writers and a major literary figure of the twentieth century, is known for such critically acclaimed works as the novel "Widows" and the play "Death and the Maiden," A master of various literary forms, this collection draws together Dorfman's critical essays on contemporary Latin American writing. Spanning more than twenty years and arranged in chronological order, each essay is devoted to a single author--Miguel Angel Asturias, Jorge Luis Borges, Jose Maria Arguedas, Alejo Carpentier, Gabrial Garcia Marquez, Roa Bastos--and one final essay looks at the "testimonial" or concentration camp literature from Chile.
Praise for Ariel Dorfman
"One of the most important voices coming out of Latin America."--Salman Rushdie
"A remarkable writer . . . writing out of a very different cultural perspective from comfortable American readers."--Digby Diehl, "Los Angeles Herald Examiner"
"One of the six greatest Latin American novelists."--Jacobo Timmerman, "Newsweek"

This short novel is about confinement, both of the mind and of the body, and therefore also about liberation. Set in the last years of the 16th century, Cautivos is a meditation on writing, writers, and creativity. Then as now, Islam and Christianity were at loggerheads and women found themselves playing new roles, and imprisonment or worse was society's answer to everything from murder to dissent. Writer/activist Ariel Dorfman imagines for us scenes from the picaresque life of Miguel de Cervantes, a man who wrestled as intensely with the contradictions implicit in writing fiction-how can one write something "real" if it is labelled fiction, but in fact how can one write anything "real" unless it is fiction?-as any scribbler who followed him in the centuries since. Cervantes, of course, was the soldier, spy and adventurer who in 1605 gave the world Don Quixote, often described as the first modern novel, a book that has influenced Western culture perhaps more than any other book save the Bible. In Cautivos, we are witness to the birth of the spirit of Don Quixote de la Mancha: an honorable if doomed figure whose travails mirror those of Miguel de Cervantes himself. Few writers have written more lovingly about their subjects than Cervantes wrote about his Quixote, and few are better positioned to appreciate the spiritual journey of Cervantes himself than Ariel Dorfman, who-not unlike Cervantes-has been alternately hounded and feted by those in authority.

"I have created for each of you a fate, one tailored specifically for your needs and desires. Each of you has a defining moment-not before, not after-when a wrong turn or decision led to the disastrous outcome that you and I mourn. To isolate that malignant moment is an exacting, exhaustive process, which only the most well-trained and competent professionals, armed with the most sophisticated of predictive models and processing power, can accomplish. You can put your trust in me, as you would in an expert surgeon, a surgeon of the soul." On a distant planet overlooking Earth, the nameless protagonist of The Compensation Bureau is one of a team of Actuaries at work on the innovative Lazarus Project. Conceived in response to the shocking violence observed in humankind, the project identifies people who have wrongfully died at the hands of others-whether victims of war, hate crimes, or random brutality-and attempts to compensate for the cruelty and pain they faced in life and death. But balancing the accounts for the sufferings and wrongdoings of humanity proves hardly a clinical exercise. The Actuary soon finds himself personally invested in the project's mission, and the goals of the project itself are complicated as the fate of Earth's inhabitants becomes more uncertain. The Compensation Bureau explores the power of individual and collective action, from a writer hailed by The Washington Post as "a world-novelist of the first category."